I guess I'm spoiled on downbeat. After both Davis's Endtroducing... and his Preemptive Strike, I was one of many people enamored with the infinitely cool stretches of slow, syrupy jazz, busted up and dissected in an unendingly fascinating array of miasmatic changes. Boards of Canada were the next ones to send me hunting for the perfect late night grooves. Something reverberating in you makes you feel as blurred as the sounds coming from Music Has the Rights to Children, and it is (along with the solid follow-up, Geogaddi) infinitely absorbing.
I found more than a few artists doing their imprint on the sound from both the DJ-ing and the laptop side of the spectrum. Aside from those listed above, there was Bonobo (so-so), Coldcut (unpredictably great/lousy), DJ Krush (a lot like Shadow, but too solid to be labeled as an imitator), Land of the Loops (shit and miss), and it goes on. As many tracks by these various artists I've culled lovingly into mix tape heaven, not a one of them made albums that could stand up to the breadth and innovation of Endtroducing... and Music Has the Rights to Children. Rumpistol, though solid enough, pulls the line for the BOC side of the downtempo imitators’ camp. Matmos and Autechre are also ever-present on Jens Berents Christian's self-titled debut, and judging from the promo materials, I'm sure he's fine with that premise.
Aside from sounding identical to the melody of the evocatively film-noir themed "Burnout" by Cinematic Orchestra, "Morgenfugl" is a good track to put first, as it is among the most enticing downtempo exercises on display here. Also noteworthy is the charmingly logy "Walnuts and Waltz." "Two Lone Swampsons" (which perhaps not so oddly sounds a little like a more tuneful Two Lone Swordsmen) crackles and pops like a Mum record when the beat slips out, then it returns to its NYPD theme on poppy-type ditty with a romantic accordion phrase for the lxvers.
Deft sampling skills on display here, with some pretty agreeable sensibilities regarding restraint. It was good of Christiansen to keep vocals out of the picture for his debut. This way, perhaps the right vocalist could hear these and offer his or her skills to elevate the songs from their all too commonplace environs. Not always, but sometimes an adroit vocalist with the right range can take the simplest melodic structure and make it truly memorable. In order to keep from blending anonymously in with his kinship, Rumpistol might want to consider this for his follow up. Think of how fewer copies Dummy might've sold (nevermind how much character the album would lose) if it was released without vocals. And some might even suggest that Endtroducing... and Music Has The Rights... were successful by slipping in a substantial wealth of vocal samples to ground the mix in just the right way. The worst of downtempo has always been that which bleeds all over itself in extravagant lushness rather than working into an incongruous frenzy, like David Holmes with Saul Williams on "Living Room." Artists like Rumpistol need to take more risks along with their drugs to truly cross over.
As it is, though, Rumpistol is a refreshingly adept, if a tad tired approach-wise, bit of chill-out music with titillating, shifting textures. It's close to Pure Moods territory at times (the old school techno beats of "Tangoboy"), but definitely not bad for those who enjoy spoiling themselves with an excess of downtempo music. It's decidedly far from essential, but it comes close to Four Tet level quality at times ("Gargamel & Cholic"). So approach with caution.
1. Morgenfugl
2. Sdr. Fasanvej Kl. Ca. 22.00
3. Mexico
4. Nice Man
5. Walnuts & Waltz
6. Two Lone Swampsons
7. Taenkepause
8. Tangoboy
9. Gargamel & Cholic
10. Hey Man?
11. Sdr. Fasanvej kl. Ca. 22.00 (Pondul Remake)
More about: Rumpistol
